Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 2 Change

ARTS INSTITUTIONS: INITIATORS AND REFLECTORS OF NEIGHBOURHOOD CHANGE

Arts institutions, such as prominent, established superstar global cities such as Paris, London, and museums and galleries, complement the inherent most definitely New York. New York City is heterogeneity and the definitive dynamic mix of often the backdrop for the dynamic trends of urbanity.1 As civic anchors, they are institutional urbanization facing contemporary cities as one of entities that occupy sizeable amounts of land,2 the world’s most influential economic and real estate and social capital.3 Anchor institutions cultural nodes. As the home of over 83 museums7 have an interdependent relationship with the dispersed among its 5 boroughs, the communities they’re located in, interacting in headquarters of some of the world’s most various capacities such as service providers, celebrated fashion designers and a plethora of workforce developers and community studios and artist-run spaces,8 New York’s infrastructure builders. Anchor institutions dominance as a crucial center of the arts is drive shared value for both the institution and derived from its dense concentration of creative the neighbourhood.4 As destination landmarks and cultural producers. that denote world-class status, these institutions are magnets for high profile investment, creating Perhaps New York’s greatest strength lies in pockets of increased real estate values across its capacity to harness its artistic talents such that the city. they contribute to both the local cultural economy as well as the global marketplace.9 In 2015, 10 of Parallelly, investments into cultural anchor the most expensive works purchased in auction institutions fuel new development and encourage were acquired in New York and the city was the the settlement of high-income residents back into site of two thirds of auction sales over $1 million, the city centre.5 This forces land values to highlighting it as a marketplace for the elite10. For skyrocket, creating shortages of available land independent artists, New York offers several and affordable housing options, while native low opportunities to network with the global art income individuals are displaced and pushed world through the annual Armory Fair and into the outer suburbs -- one of the defining Frieze New York.11 This duality solidifies New elements of gentrification. York’s position on the top of the global art scene while simultaneously acting as a tastemaker for Projected data anticipates that by the year up and coming artists.12 2050 more people will be living in urban rather than rural areas;6 as this urban migration A great deal of work has been dedicated to continues, the tension for space will persist in highlighting the specific role that arts institutions in New York have played in neighbourhood 1 Schulman, S. (2012). “The Dynamics of Death and Displacement” In The Gentrification of the Mind, 28-35. Oakland, CA: University of California Press. 2 Birch, E. (2010). Anchor Institutions and their Role in Metropolitan Change. Penn Institute for Urban Research, 1. Retrieved from: 7 Artsy. (2015) “The 15 Most Influential Art World Cities of 2015”. Artsy + Planet http://penniur.upenn.edu/uploads/media/anchor-institutions-and-their-role- Art. Retrieved from https://www.artsy.net/article/artsy-editorial- in-metropolitan-change.pdf. Accessed August 5, 2016. contemporary-art-s-most-influential-cities 3 Porter, M. (2010). Anchor Institutions and Urban Economic Development: 8 Ibid. From Community Benefit to Shared Value. Initiative for a Competitive Inner 9 Currid, E (2006). “New York as a Global Creative Hub: A Competitive City. Retrieved from Analysis of Four Theories on World Cities”. Economic Development Quarterly. http://www.thecyberhood.net/documents/projects/icic.pdf Retrieved from 4 Ibid. http://journals1.scholarsportal.info.myaccess.library.utoronto.ca/pdf/0891242 5 Whyte, M. (2016). Soaring rent threatens Sterling Road’s creative vibe. 4/v20i0004/330_nyaagcoftowc.xml Toronto Star. Retrieved from 10 Artsy. (2015) “The 15 Most Influential Art World Cities of 2015”. https://www.thestar.com/entertainment/visualarts/2016/01/31/some-sterling- 11 Ibid. road-artists-facing-steeper-rents-plan-to-move-on.html 12 Brooks, A., Kushner, C., and Roland, J. (2002) “What Makes an Arts Capital: 6 The United Nations. (2014). World Urbanization Prospects. Retrieved from: Quantifying a City’s Cultural Environment”. International Journal of Arts https://esa.un.org/unpd/wup/Publications/Files/WUP2014-Highlights.pdf. Management. Retrieved from Accessed August 5, 2016. file:///Users/melissavincent/Downloads/out%20(20).pdf

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 2 change. Through their symbolic appropriation of prominent New York City institutions space to make room for arts-based initiatives, arts investigated were as follows: The MoMA PS1 in institutions function as the “colonizing arm”13 of Long Island City, Queens; The Brooklyn Museum gentrification. This is further reified through the in the Crown Heights neighbourhood of role arts institutions have played in influencing Brooklyn; and The Frick Collection in the Lenox urban planning decisions, such as the creation Hill neighbourhood of the Upper East Side of and modification of policies that fund, open and Manhattan. expand institutions in the hopes of catalyzing future development.14 As the racial, ethnic and To maximize the observations of the socioeconomic characteristics of neighbourhoods institutions during the relatively short 5 week in New York City evolve over time, the policies, collaborative internship with the Martin curation, and overarching goals of arts Prosperity Institute at the University of Toronto institutions evolve as well. This gives them the and The Urban Lab at the New York University power to reflect neighbourhood change as well as Schack Institute of Real Estate, each case study to initiate it. comprised of site visits to the institution supplemented by an analysis following Arts institutions recognize and display this attendance at one of their major monthly events. relationship in various ways, as seen materialized For each visit, an ethnographic survey was through different approaches to engagement and completed about the content of the exhibits and curation. That being said, all neighbourhoods are the manner in which they were curated, the unique and so are their respective institutions; degree of physical and social integration and the each represents its own unique interplay of accessibility achieved therein, along with particular histories, conflicts, tensions, vested observations on how families, individuals, and interests and spatial complexities. As such, the groups navigated and interacted with the spaces. particular influence that each arts institution has This was followed by a comparison of the trends had and will continue to have as an agent of between the events and the standard visiting gentrification will vary significantly from experience. The content and observations institution to institution, neighbourhood to obtained through the ethnographic surveys were neighbourhood, and borough to borough. then analyzed thematically to inform a more contemporary and often uncaptured METHODOLOGY understanding of the identity of each institution. Demographic and socioeconomic data on This research initiative prioritized the importance community areas and census tracts supplemented of not only studying and comparing drastically the analysis of how each institution has different institutions, but also the importance of potentially initiated or reflected neighbourhood experiencing and observing them first hand to change more generally, and gentrification more grasp the nuances of social, cultural and specifically. institutional interactions that contribute to a shared and collaborative ethnography. The three

13 Grodach, C., Foster, N. and Murdoch, J. (2014). Gentrification and the Artistic Dividend: The Role of the Arts in Neighborhood Change. Retrieved from https://www.arts.gov/sites/default/files/Research-Art-Works- Arlington2.pdf 14 Ibid.

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 3 ARTS-INSTITUTION SPECTRUM arts-led gentrification. This spectrum identifies the differences enacted by emerging institutions Through studying and comparing the three in gentrifying neighbourhoods, ranging from The institutions, we discovered a blind spot in Curator on one end of the spectrum to firmly traditional anchor institution theory that views established institutions in homogeneously anchor-led neighbourhood change as a process affluent neighbourhoods, such as The Relic, on the with a uniform trajectory destined to enter end- other end. The two ends of the spectrum are stage gentrification.15 Instead, this report shows bisected by particular institutions, such as The that institutional bodies have a high degree of Reflector, whose very identity is informed by their influence and power to make active and role as a reflexive intermediary in a gentrifying conscious decisions that impact gentrifying and neighbourhood. gentrified space. The institution itself is not a puppet of the greater forces of gentrification, but These institutions are ones that have rather takes on the role of an agent by asserting historically been witness to various waves of the particular brand of neighbourhood change it settlement and gentrification, though they act on wants to enact. These actions can be characterized their responsibility to provide an arena that by their particular curatorial and policy-oriented accommodates both old and new residents in an approaches, which differ greatly depending on effort to acutely reflect the contentious new the institution. reality of the neighbourhoods in which they are

located. The Reflector as an institution is a venue The following categories assist in of social and discursive disruption in the understanding the various roles that an otherwise one-sided dialogue of neighbourhood institution may play: change and gentrification. It is here that new and The MoMA PS1 assumes the identity of The old voices consistently negotiate, push back, and Curator; similarly to how an art gallery selectively collectively decide what the identity of a given curates its exhibitions, as an institution it strives institution — and more significantly, of the to selectively curate the particular demographic surrounding neighbourhood — will manifest of individuals it hopes to attract driven by its itself as. own artistic mandate. The Frick Collection positions itself as The Relic whose identity is While there is a wide diversity of rooted in its sense of permanence and perspectives, information and ideas regarding traditionalism as an integral part of a landmark gentrification theory, this spectrum seeks to neighbourhood of New York City. Contrarily, refute some contemporary gentrification The Brooklyn Museum may be understood as The discourses that are inherently limited in their Reflector, as it reflects the voices and interests of singular conception of institutions inevitably the pre-existing communities whose narratives reaching end stage gentrification. This report are challenged by new waves of settlement. illustrates a model whereby an institution that

champions its reflexive position as an anchor in a Arts institutions as agents of neighbourhood transitional neighbourhood can exist validly change should be understood on a spectrum of amongst other institutions of similar status, while

15 Grodach, C., Foster, N. and Murdoch, J. (2014). Gentrification and the also successfully mediating the divides that Artistic Dividend: The Role of the Arts in Neighborhood Change. Retrieved from https://www.arts.gov/sites/default/files/Research-Art-Works- emerge in gentrifying neighbourhoods. Arlington2.pdf

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 4

MoMA PS1 — THE CURATOR In 2000, the PS.1 Contemporary Art Space Located in the emerging arts district in Long became an affiliate of the Museum of Modern Art Island City, MoMA PS1, formerly known as P.S.1, as a way for the MoMA to keep a firm handle on is both a product and a producer of the region's the work of emerging artists.22 To celebrate the rapidly changing identity. Following the opening merger of the two institutions, the PS.1 of the Queensboro Bridge at the turn of the 20th Contemporary Art Space changed its name to century, Long Island City transitioned from a MoMA PS.1 in 2010 to clarify the partnership farming community to a manufacturing center.16 between the two, officially providing an As industrial work moved to developing esteemed cultural designation in Long Island City countries, the region experienced significant and legitimizing its existence as an anchor.23 deindustrialization which left behind several Within the overarching New York arts scene that abandoned warehouses along the waterfront, prioritizes traditional and easily recognizable turning the area into a ghost town by the mid- works of ‘high art’,24 MoMA PS1 has derived its twentieth century.17 In 1971, Alanna Heiss, who identity by celebrating, sharing and promoting its had previously worked in London with the distinctly DIY ethos through its prioritization of organization S.P.A.C.E 18 repurposing the contemporary, alternative and innovative warehouses into arts spaces, saw the potential in above all else. converting the abandoned schoolhouse “P.S.1”19 into a dynamic, new arts space. For the next In the context of traditional discourse around twenty years, the PS.1 Contemporary Art Space gentrification, MoMA PS1 sits in an unusual was used as a studio, performance, and position given exactly how it is influencing the exhibition center informed by radical curatorial anchor-led development occurring in its decisions, which allowed a rotating group of periphery. In 2001, rezoning in Long Island City artists -- ranging from art-world celebrities to allowed for the creation of higher density, mixed unknown up-and-comers -- to reimagine and commercial and residential development which remodel the institutional space through long and encouraged an increased emphasis on attractive, short term installations.20 In 1997, the space walkable streetscapes and improvements to main underwent an $8.5 million renovation which subway stops.25 This was combined with new tax included a redesigned entryway, 2-story and economic development incentives designed exhibition space and outdoor gallery. Its facilities to both attract a highly desirable young, creative increased from 84,000 square feet to 125,000 class of new migrants and encourage them to set square feet after reopening in 1997, making it the down roots. In the summer of 2016, a New York world’s largest institution dedicated to Community Housing Authority Building had it contemporary art.21

16 Theodosiou, C., & Van Cura, D. (2009). Long Island City. The Greater Astoria 22 Vogel, C. (1999). A Museum Merger: The Modern Meets the Ultramodern. Historical Society. Retrieved from http://astorialic.org/GAHS-LIC-Teachers- The New York Times. Retrieved from: Guide.pdf. Accessed August 5, 2016. http://www.nytimes.com/1999/02/02/arts/a-museum-merger-the-modern- 17 Ouzounian, Richard, New York travel: Long Island City boasts great bars, meets-the-ultramodern.html. Accessed August 5, 2016. museums and awesome views (The Toronto Star, 2013) 23 Vogel, C. (2010). Tweaking a Name in Long Island City. The New York Times. 18 “Significant Events in the History of MoMA PS1” last modified 2016. Retrieved from: https://www.moma.org/learn/resources/archives/ps1_chronology http://www.nytimes.com/2010/04/30/arts/design/30vogel.html?_r=0. 19 “Significant Events in the History of MoMA PS1” Accessed August 5, 2016. 20 Smith, R. (1997). Spacious and Gracious, Yet Still Funky at Heart. The New 24 Artsy. (2015) “The 15 Most Influential Art World Cities of 2015 York Times. Retrieved from: http://www.nytimes.com/1997/10/31/arts/art- 25 “Long Island City Rezoning Proposal: Executive Summary” (2001). New York review-more-spacious-and-gracious-yet-still-funky-at-heart.html. Accessed City Government. Retrieved from August 5, 2016. https://www1.nyc.gov/assets/planning/download/pdf/plans/long-island-city- 21 Ibid. mixed-use/lic.pdf

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 5 lease revoked to make way for “creative audio accompaniment, there is little direction in tenants”.26 It is a move that provides further terms of how to engage with the institution as a evidence of how Long Island City’s interest in whole. It is possible to make the argument that creativity has influenced both how the built MoMA PS1 has been developed around a free- environment is developing, and exactly who it flowing, somewhat ‘flaneur’ style of movement. is developing for. However, Long Island City has This not only challenges preconceived notions of also historically been a Hispanic neighbourhood, how institutional gallery space is typically representing 59% of the population in 2000 and navigated but also encourages patrons to 66% in 2016.27 Despite the embedded heritage of structure their own visit. It is a model that caters a visible existing community in the region, media to individuals who desire an immersive and reports that attempt to define the neighbourhood uniquely alternative arts experience that the have continued to paint Long Island City as MoMA PS1’s parent institution cannot offer. “empty” and an opportune location for young However, this model is not without sacrifice in professionals who have been priced out of both two notable areas: a lack of accessibility and a Manhattan and now Brooklyn.28 The continued highly securitized presence. The focus on rhetoric insisting there is ‘nothing here’, as stated installations in the stairwell, on the railings, by one real estate broker who moved in 10 years under the landing, on the sides of the walls, and ago, has also encouraged the influx of new the highly prized long-term installation by commercial developments, as illustrated by Colette/Laboratoire Lumiere29 located in the attic, burgeoning fashion and marketing industries. As might be inaccessible to individuals who face an arts institution rooted in Long Island City, the mobility-related challenges. The museum's online main selling point for MoMA PS1 has long been presence does little to prepare or make centered around its ability to provide a ‘non- accommodations for individuals who cannot traditional’ space for new forms of expression enter those spaces. While ongoing challenges and a reimagination of antiquated creative and with accessibility are issues that several organization processes. For new industries into institutions face, at the seemingly progressive the area, the flair of being associated with MoMA MoMA PS1, it is a subtle action that speaks to a PS1 offers is a valuable marketing opportunity. degree of insensitivity and avoidance of inclusivity. It furthers the belief that the In this way, navigating through the physical institution prioritizes certain bodies, specifically space itself allows for further insight into some those who are capable of experiencing all aspects of the greater functions the institution is of the institution and will likely engage further in performing. While each exhibition offers an paid services and events following a satisfactory adequate amount of signage with the option for experience.

Secondly, there was an extremely high 26 Matua, A. (2016). New owner of LIC building that houses NYCHA offices won’t renew their lease and is looking for ‘creative’ tenants instead. QNS. volume of security personnel at the institution Retrieved from http://qns.com/story/2016/07/27/new-owner-of-lic-building- that-houses-nycha-offices-wont-renew-their-lease-and-is-looking-for-tech- who nearly equalled if not outnumbered the tenants-instead/. Accessed August 9, 2016. 27 NYU Furman Centre. (2016).QUEENS: QNO2 Jackson Heights” In State of patrons in certain installation rooms. During the New York City’s Housing & Neighbourhoods — 2015 Report, 117. Retrieved from http://furmancenter.org/files/sotc/Part_3_SOCin2015_9JUNE2016.pdf. site visit, they were vocal about seemingly non- Accessed July 30, 2016. 28 Jacobson, A (2016) Long Island City: Fast-Growing with Great Views. New York Times. Retrieved from 29 Colucci, E (2016) Not an Alternative: “FORTY” at MoMA PS1. Artfcity. http://www.nytimes.com/2016/02/14/realestate/long-island-city-fast- Retrieved from http://artfcity.com/2016/07/13/not-an-alternative-forty-at- growing-with-great-views.html Accessed August 2nd 2016 moma-ps1/ Accessed August 14th 2016

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 6 descript behaviours such as staying at an Island City region is not a new phenomenon. otherwise empty installation for too long. Specific Until November 2014, 5-Pointz: The Institute of data on additional security roles aside from Higher Burnin’, which had become an keeping order is not publicly available however international landmark of street art, sat in close their presence is in stark contrast to the other proximity to MoMA PS132 -- a visual reclamation inherent values the institution claims to uphold in of space from artists who did not qualify for its mandate: entrance into the realm of the Museum. As the conversation shifts to the role MoMA PS1 plays MoMA PS1 actively pursues emerging artists, new in supporting spaces for local artists, these artists’ genres, and adventurous new work by recognized desire to look outside of their community and artists in an effort to support innovation in into larger national and international markets for contemporary art. MoMA PS1 achieves this mission talent supports existing literature about by presenting its diverse program to a broad alternative arts spaces in the United States. audience in a unique and welcoming environment Following WWII, alternative arts spaces operated in which visitors can discover and explore the work of contemporary artists 30 under the mentality that performing local outreach meant opening up spaces for creativity The contrast between this mission statement and while democratizing and decentralizing the the highly controlled institutional environment attention often placed on arts pockets in 33 highlights the fact that the “correct” behaviour of homogenous, often affluent areas. The trade off individuals is necessary for those entering the for offering space enabled complete control over space. This is furthered by the identity and the creative direction and goals of the institution image that MoMA PS1 attempts to project, with little accountability to various stakeholders. which fails to correspond with the reality of the neighbourhood. It still remains an One of MoMA PS1’s few opportunities for unapologetically “adult” space that has been engagement with local, creative groups is the made inappropriate for children. It has failed to bidding process for the design of their pivotal, recognize the data highlighting the fact that Long new pavilion, which would provide an ample Island City typically attracts permanent residents opportunity to present the work of local artists. either before or shortly after they had their first Instead, it has historically gone to professional, child.31 This disconnect is seen in the absence of established architecture firms like Escobedo Solíz official children’s programming and the lack of Studio from Mexico City in 2016 and the Los 34 child-friendly options for patrons attending Angeles based, Xefirotarch in 2005 who have a events with children. mutually beneficial relationship with MoMA PS1. These relationships allow creative firms capitalize Its budding identity as a landing site for on the weight of the MoMA PS1 brand while the creative industries has inspired an aggressive institution increases its collaborations with a cultural and spatial branding of which MoMA 32 Holpuch, A. (2014). New York’s graffiti mecca 5 Pointz torn down. The PS1 is the key informant. However, the influence Guardian. Retrieved from of the arts on communities in the greater Long https://www.theguardian.com/artanddesign/2014/aug/22/5-pointz-new- york-graffiti-torn-down. Accessed August 5, 2016. 33 Hertz, B (2001) The Independent Wedge: A Brief History of Alternative Exhibition Spaces in the United States with Case Studies from New York City. Art Factories Retrieved from http://www.artfactories.net/The-Independent- 30 “Mission Statement” (2016) MoMA website PS1 Retrieved from Wedge-A-Brief.html?gt Accessed on August 7th 2016 https://www.moma.org/about/index 34 Young Architects Program (2016) MoMA PS1 Retrieved from 31 Jacobson, A (2016) Long Island City: Fast-Growing with Great Views. http://momaps1.org/yap/ Accessed August 2nd 2016

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 7 variety of interdisciplinary and creative ‘grandest’ homes in New York City at 5th and individuals. Their fervent desire to be regarded 91st, which currently houses the Cooper Hewitt as a monolith of alternative, institutional Smithsonian Design Museum.37 In 1906, he experimentation leaves little room for the open purchased the plot of land on which the museum engagement of its actual commercial and presently stands which previously housed the residential neighbours. It is here that MoMA PS1, Lenox Library, notoriously inaccessible to the as The Curator of the Long Island City public and on the verge of vacating before neighbourhood, serves to externalize its pseudo- merging with the New York Public Library.38 radical identity on the neighbourhood with the Frick provided the New York Public Library with expectation that residents will mould their a $3 million monetary incentive for the Lenox personal tastes and lives to successfully heirs to give him the building rights.39 This trade- participate in an imagined reality created by off was met with staunch public opposition that the institution. viewed “the Lenox Library as part of the fabric of Fifth Avenue”40 and Frick’s proposition to tear THE FRICK COLLECTION — down the library and have it rebuilt stone for stone in Central Park was met with even stronger THE RELIC public outcry at the thought of losing park space. The Frick Collection is located along the Museum Tellingly, Frick retracted his plan, demolished the Mile, one of the densest manifestations of culture library, and constructed his mansion that would in the world,35 on 5th Avenue and 70th Street in allow him to collect paintings that “reflected the the Lenox Hill neighbourhood of the Upper East high society into which he was moving.”41 Side of Manhattan. As the widespread geographic imagination of the Upper East Side Despite The Frick Collection’s status as one of insists, it is an extremely wealthy area, with the “few remaining Gilded Age mansions,”42 contemporary income distribution most making it an important historic landmark for the commonly ranging from $100,000-$250,000. Less history of City of New York, it also assumed the than a quarter of its population is non-white.36 identity of memorializing Frick himself, who The stable, homogenous nature of the Upper East infamously proclaimed “I want this collection to Side, paired with the fact that it has consistently be my monument.”43 It became one of the world’s experienced sizable arts investment, makes the best small museums,44 housing an impressive Frick Collection an important case study to collection of European Old Masters like Bellini, investigate the power of arts institutions in Rembrandt, Vermeer, Gainsborough, Goya, contrast to other more dynamic areas of the city. Whistler, Van Dyck, Turner and El Greco. The adjacent Frick Art Reference Library founded in Prominent Pittsburgh industrialist Henry 1920 by Frick’s daughter Helen Clay Frick is now Clay Frick desired to build his own home in New

York City to compete with his former business 37 Nevius, J. (2014). The Controversial Origins of New York City’s Frick Collection. Curbed New York. Retrieved from partner Andrew Carnegie who had one of the http://ny.curbed.com/2014/7/29/10068128/the-controversial-origins-of-new- york-citys-frick-collection. Accessed August 5, 2016. 38 Ibid. 35 “Museum Mile, New York City”. (2016). NY.com. Retrieved from 39 Ibid. https://www.ny.com/museums/mile.html 40 Ibid. 36 NYU Furman Centre. (2016). “City, Borough, and Community District Data” 41 Ibid. In State of New York City’s Housing & Neighbourhoods — 2015 Report, 117. 42 “History” (2016). The Frick Collection. Retrieved from: Retrieved from http://www.frick.org/collection/history. Accessed August 5, 2016. http://furmancenter.org/files/sotc/Part_3_SOCin2015_9JUNE2016.pdf. 43 Nevius, (2014), The Controversial Origins of New York City’s Frick Collection. Accessed July 30, 2016. 44 “History” (2016). The Frick Collection.

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 8 one of the leading institutions for research in art the house before it opened to the public in 1935, history and collecting.45 Despite the esteemed once again emphasizing the institution as a status of his private collection, Frick had long symbol rooted in preserving an individual past intended to leave the house to the public after his rather than a collective one. death, even providing a $15 million endowment to be used for maintenance, improvements, and It is important to note that this feeling of a additions in his will.46 past era is not experienced unanimously across age, racial and gendered lines but has also been The museum opened to the public in 1935 and the source of significant spatial tension and continued to acquire works after Frick’s death, discomfort. For instance, The Frick has a strict which account for about one third of the current policy that children under 10 are not allowed to works. Only those works that have been acquired enter the museum to protect fragile furniture and after Frick’s death are eligible to be lent out and installations, which Sachs described as not circulated,47 emphasizing the institutional “restrictive...it’s reasonable”52 -- and in one permanence and the Relic identity of the Frick sweeping policy decision managed to alienate an collection. The institution is curated “without entire cohort of families with children just old regard to period or national origin”48 but rather enough to begin to comprehend and appreciate according to Frick’s personal taste. The the collection for its artistic merit. Since the late presentation of the works in The Frick Collection 1990s, there has been directorial functions not to inform or educate visitors, but acknowledgement that there is a growing group instead to relate artefacts to the highly marketable of younger patrons who feel unwelcome at the experience of reimagining the pomp of New institution. Sachs had responded with an interest York’s Gilded Age. As noted by the former in wanting to make “The Frick a more welcoming director of The Frick Collection, Everett Fahy, place for younger audiences while ensuring they “the extraordinary thing about The Frick is that it not mess it up.”53 This kind of language posits has always changed but all while giving the that while visits from youth may be encouraged, illusion that it's the same.”49 As such, The Frick their identity is inherently incompatible with the has rightfully earned its name as The Relic, as its identity of The Frick. Furthermore, the youth that selling point is rooted in its perceived are actively deciding to visit The Frick are permanence, citing its curatorial mission as “one comfortable enough with their surroundings to of fine tuning rather than making major navigate and seemingly engage with art in an changes…without ruining what people love institution that has limited signage. This about it,” according to another former director, presupposes a certain level of education, Samuel Sachs.50 To this point, John Russell Pope, exposure, entitlement, and privilege in the types the architect hired in 1933 aimed to avoid “the of crowds that The Frick is able to engage with manner of exhibition common in museums”51 in and attract. an attempt to retain the original atmosphere of In fact, the notion of accessibility is not one 45 Ibid. 46 Ibid. extensively touched upon by the Frick aside from 47 Ibid. 48 Ibid. the use of multilingual audio-guides, increased 49 Vogel, C. (1998). Director Tries Gentle Changes For the Frick. The New York Times. Retrieved from: http://www.nytimes.com/1998/09/07/arts/director- tries-gentle-changes-for-the-frick.html. Accessed August 5, 2016. 50 Ibid. 52 Vogel, (1998). Director Tries Gentle Changes For The Frick. 51 Nevius, (2014). The Controversial Origins of New York City’s Frick Collection. 53 Ibid.

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 9 internet presence and better signage.54 Its lack of East Side.56 In some parts of Brooklyn, soaring formal acknowledgement of social inaccessibility rent prices have priced people out of the market through time remains evident today. During a actually making the Upper East Side more regular visit to The Frick there was a high degree affordable,57 which simultaneously offers the fact of behavioural policing, such as being told to not that it is “refreshingly devoid of bourgeois take photos and hang backpacks on one shoulder bohemianism.”58 In order to stay a relevant and only. While most patrons seemed to be dynamic member of the Museum Mile, the comfortable adhering to the institution’s policies, emergence of “Brooklyn’s newest refugees”59 this was compounded with the fact that there was may force The Frick to become more receptive very little visible racial diversity in patrons, who and reflective of the younger, more diverse were primarily white, while a large majority of demographic, ultimately shaking how The Frick the service personnel at the institution seen imagines and projects its identity. (See Figure 1) during the site visit were people of colour. During the free monthly event, there was more THE BROOKLYN MUSEUM — diversity in visitors along racial, gendered and age lines, who wandered through the building, THE REFLECTOR sitting for free sketching sessions in the garden The Brooklyn Museum, located in the Crown courtyard. Despite this orchestrated opening up Heights neighbourhood of Brooklyn, was born of what is otherwise a fairly alienating institution, out of aspirations to transform the region into a it did not correspond to an opening up of cultural neighbourhood competitive with some of the and behavioural expectations. Instead, it world’s grandest plazas.60 Since then, it has had reproduces the same dynamics of urban spatial to readjust its expectations to match the reality of politics in both traditional and contemporary the consistently evolving landscape. Initially New York. conceived to be the largest museum in the world, in 1890, it intended to house the Brooklyn Similarly to how The Frick’s identity is rooted Children’s Museum, the Brooklyn Academy of in its immutability, essentially reaching a plateau Music, and the Brooklyn Botanical Garden.61 It in dynamicism, the surrounding neighbourhood was to become a centre for recreational, cultural has also seemingly plateaued in character, with and educational activity in the newly emerging minimal ethnic and socioeconomic shifts from Brooklyn, which at this point had been 2000 to 2014.55 Perhaps, when evaluating the predominantly white.62As the largest borough of responsiveness of The Frick, one could argue that New York and a former industrial hub, the it is in fact responsive and reflective of its relatively homogenous and affluent 56 Kaufman, J. (2014). For Starters, the Upper East Side. The New York Times. neighbourhood. Interestingly enough, this Relic Retrieved from: http://www.nytimes.com/2014/03/16/realestate/for-starters- the-upper-east-side.html?_r=0. Accessed August 5, 2016. identity may not be inevitably sustainable for The 57 Ibid. 58 Fishbein, R. (2014). Let’s All Move To The Upper East Side! Gothamist. Frick as demonstrated in its history following a Retrieved from: http://gothamist.com/2014/09/02/upper_east_side_hip.php. Accessed August 5, 2016. newly emerging influx of residents to the Upper 59 Ibid. 60 “Profile: Brooklyn Museum”. (2016). New York Magazine. Retrieved from: http://nymag.com/listings/attraction/brooklyn-museum-of-art/. Accessed August 5, 2016. 61 The Brooklyn Museum. (2015). Brooklyn Museum Building: A Brief History of 54 Rosenau, H. (1998). Accessibility of The Frick Collection Greatly Enhanced. one of the Oldest and Largest Arts Institutions in the United States. Brooklyn Archived Press Release from The Frick Collection. Retrieved from Museum. Retrieved from: http://www.frick.org/sites/default/files/pdf/press/Accessibility.pdf. Accessed https://www.brooklynmuseum.org/features/building. Accessed August 5, August 5, 2016. 2016 55 NYU Furman Center, (2016), City, Borough, and Community District Data. 62 Ibid.

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 10 surrounding region experienced a significant in- that sought to prioritize the identities of the migration of black and Hispanic immigrants from individuals living in the Crown Heights Harlem following WWI as part of the ‘Great neighbourhood. Migration’.63 As industries waned following the Second World War and the area fell into In particular, his 1999 exhibition “Sensation: disrepair, gross civic disinvestment led to high Young British Artists” from the Saatchi Collection concentrations of poverty triggering the flight of came under significant fire for Chris Ofili’s work, white residents out of Brooklyn into other areas “The Holy Virgin Mary” which stirred of New York.64 (See Figure 2) considerable controversy due to its depiction of the Black Madonna adorned with elephant For two decades, preventative maintenance Dung.69 The reaction not only prompted Mayor on the museum was neglected and in the 1930’s Guiliani to deem the exhibition “un-Catholic” but the original grand staircase was demolished to initiated a lawsuit and threatened to remove its make way for an accessible, democratic ground municipal funding -- an amount of $7 million, a floor entrance. The period between the 1950s and third of which comprised the museum’s total 1960s saw the institution struggling with operating budget, if the work was not taken significant budget shortfalls during which the down.70 While the situation was resolved, two institution as a whole fell into disrepair.65 years later, the artist Renee Cox ran into similar Following the designation of the Brooklyn controversy in 1999 for her Afro-Centric portrayal Museum as an official historic landmark in 1977,66 of the Last Supper featuring her nude body as a design bid was launched for a long-term Jesus Christ, which received similar outrage from renewal expansion in 1986.67 With the Mayor Giuliani for violating decency standards.71 appointment of curator Arnold L. Lehman in 1997, the Brooklyn Museum entered a new era: The period around the turn of the century also during his 17-year tenure Lehman would increase marked a rapid gentrification of Williamsburg the Museum’s endowment from $53 million to and its surrounding neighbourhoods in Brooklyn, $123 million, advocate for specific events for which included the in-migration of an incoming youth, minority groups and special needs young and creative gentry.72 The Crown Heights individuals, and increase the museum’s private neighbourhood in Brooklyn has emerged as a partnerships to ultimately bring in more refuge for young, creative professionals who have revenue.68 During his time as curator he not only been unable to afford renting both residential and improved the economic position of the museum, commercial property in areas such as but also informed a crucial new social mandate Williamsburg and Greenpoint. According to Christopher Havens, the head of the commercial division at AptsandLofts.com headquartered in 63 New York Public Media (2016) “History of Brooklyn”. PBS Thirteen.Retrieved from Williamsburg, Crown Heights has “the fastest http://www.thirteen.org/brooklyn/history/history3.html Accessed August 5, 2016. 64 Gregor, A (2015). Crown Heights, Where Stoop Life Still Thrives. The New 69 The Art of Controversy (1999) PBS. Retrieved from York Times. Retrieved from http://www.pbs.org/newshour/bb/entertainment-july-dec99-art_10-8/ http://www.nytimes.com/2015/06/21/realestate/crown-heights-brooklyn- Accessed July 23rd 2016 where-stoop-life-still-thrives.html Accessed August 5th 2016 70 Ibid. 65 “Brooklyn Museum Building.” (2015). The Brooklyn Museum. 71 Williams, M (2001) Yo Mama Artist Takes on Catholic Critic. New York Time 66 Ibid. Retrieved from http://www.nytimes.com/2001/02/21/nyregion/yo-mama- 67 Ibid. artist-takes-on-catholic-critic.html Accessed August 5th 2015 68 Vogel, C (2014). Brooklyn Museum’s Longtime Director Plans to Retire. New 72 Zimmerman, E. (2014) Creative class migrates deeper into the boroughs, York Times. Retrieved from Crains. Retrieved from http://www.nytimes.com/2014/09/10/arts/design/arnold-lehman-to-step- http://www.crainsnewyork.com/article/20140722/SMALLBIZ/140729964/creati down-from-his-post.html?_r=0 Accessed August 5th 2015 ve-class-migrates-deeper-into-boroughs Accessed August 5th 2016

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 11 storefront turnover in the history of and prioritize the pre-existing, racialized gentrification”73 which has positioned Crown residents, ensuring that their heritage is firmly Heights at the center of the “small manufacturing engrained in the Museum's current presence. renaissance.”74 During the site-visit to the Museum’s monthly Around the time of the aforementioned intra- First Saturday’s event, the Museum neighbourhood migration, The Brooklyn demonstrated its innovative way of sharing the Museum entered into an era of renegotiation of work of African-American, Hispanic and itself alongside significant renovations to its built Indigenous visual artists. Throughout the environment in order to repair its long-standing evening, the event highlighted the Brooklyn accessibility challenges.75 The Museum’s Beaux- Museum as an institution that refuses to be Arts Court was rebuilt in 2001 and its skylight separated from its renewed commitment to was restored to allow for community advocating for its native community. A bartering programming and events on the top floor of the table created by an Indigenous artist was Museum.76 In recent years, the Museum has intensely personal while also providing an redesigned several of its galleries to make them example of alternative models of commerce. more accessible through bright wall colours, Elsewhere, a panel on challenges queer multimedia programming and an emphasis on individuals face when immigrating to The United flowing spaces. In 2004, the public plaza was States, offered a forum of practical advice for completed as part of The Rubin Pavilion project individuals in the community. Possibly most to resolve particular issues with physical impressive was the presence, and subsequent accessibility to the museum with an overall audience engagement, during the performance project cost of $63 million. It included numerous staged by The Theatre of the Oppressed, which benches and the planting of cherry trees, and the used dramatic exercises to troubleshoot construction of a “front stoop”, creating several challenges that residents in the neighbourhood sites for informal, public gatherings.77 The may experience when faced with discrimination renovation is indicative of a commitment to both and a lack of access to housing. The holistic physical and social inclusiveness, in an attempt to programming was not only inspired by the weave together the different layers of humanity geographic imagination of life in Brooklyn before present in the immediate community. Also its aggressive gentrification, but also underscored notable is the Elizabeth A. Sackler Center for the fact that art spaces are inherently political. Feminist Art which opened in 2007, the first space of its kind in the country designed to display Both explicitly and implicitly, the event made feminist art through a variety of different rotating greater assertions on exactly which individuals and intersectional exhibits. 78 The aforementioned were prioritized in the space: the native curatorial decisions and intentional programming communities of people of colour, families with shift render The Brooklyn Museum a Reflector young children and older adults who could see institution, due to its conscious efforts to reflect themselves reflected in the programming. Lehman has been accused of pandering to “low-

79 73 Ibid. brow” tastes and failing to appropriately 74 Ibid. 75 “Brooklyn Museum Building.” (2015). The Brooklyn Museum. display some of the priceless works housed in the 76 Ibid. 77 Ibid. 78 Ibid. 79 Vogel, C (2014). Brooklyn Museum’s Longtime Director Plans to Retire

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 12 Museum. Such a critique offers insight into larger position to open and create space for pre-existing identity politics at play, not only regarding who residents is not a neutral one. As the previous is intended to engage with high art, but exactly political controversies illustrated, the Brooklyn what art they should be engaging with. It Museum can be understood as a site of conflict comments on the degree to which curatorial and a crossroads of cultures in tension between decisions, reflective of the native residents of the the new wave of gentrifiers and the native Brooklyn community, have a place in arts community. As such, it functions as an interactive institutions of status in the their attempts to arena of dialogue and reconciliation of Brooklyn’s distance ‘the right to art’ from possessing past, present and future identities. It allows for economic capital. the prioritization of narratives and needs of native residents as a deliberate and conscious During the standard visiting experience, the effort to provide a marginally more equitable themes and notions mentioned above allocation of space in institutions that are emphasized how the day-to-day visits to the notoriously uninclusive for such communities. Museum are as much catered to families, youth, racialized and minority groups as the First CONCLUSION Saturday events. The Museum offers a family and As one of the most ubiquitous characteristics of child-friendly space in addition to a children’s contemporary cities, it is nearly impossible to learning and arts centre,80 which challenges the escape the explicit and implicit role that notion that children are incongruous with high gentrification has had in shaping urban space. art and their presence should be policed. The The significance of analyzing change through a Museum clearly emphasizes teaching and spectrum provides an alternative to education by way of the personal narratives and understanding this phenomenon as rigid and comprehensive signage presented in a clear, inevitable. Instead, the model of the spectrum readable format throughout the space. The layout highlights the need to emphasize mobility in of the Museum is an important conditioning conceptualizing gentrification. As factor in teaching individuals who may not be neighbourhoods and their respective anchor familiar entering institutional spaces how they institutions continue to change due to an ever- might extract value from the some of the works evolving interplay of forces, using a sliding scale they’re engaging with. It is an action that delivers to discuss neighbourhood transitions can be a on the Museum’s mandate to bridge potential helpful tool in remaining responsive to these exposure and cultural barriers by considering changes over time. Where institutions will be how the pre-existing community may experience positioned on the scale is determined by distinct the space, which is representative of the policy and curatorial decisions. While this Museum’s larger push for social accessibility. research initiative may identify MoMA PS1 as The

Curator, The Frick Collection as The Relic and The These actions cannot be removed from the Brooklyn Museum as The Reflector, similarly to reality that the Brooklyn Museum remains how neighbourhoods themselves are never situated in a rapidly gentrifying borough and its stagnant, these institutional identities are also not definitive. 80 “Gallery Studio Schedule for Children and Teens” (2016). The Brooklyn Museum. Retrieved from https://www.brooklynmuseum.org/education/youth-and- families/gallery_studio_schedule Accessed August 3rd 2016

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 13 Anchor arts institutions have an 5. The City should appoint a representative overwhelming capacity to dictate the character of advisory committee for each major arts the community, and for this reason, require a institution, representative of the constituents of high degree of sensitivity when existing in areas the surrounding neighbourhood to bring the concerns of the community to decision-making that are being animated by arts-led forums at these institutions. neighbourhood change. As prominent anchor 6. Upon the creation of municipal or institutional institutions, they must recognize their community forums, community members responsibility to be held accountable not only to should actively seize the opportunity to voice tourists and admirers, but more importantly, to their opinions, desires and queries regarding the the immediate neighbourhood in which they are programing, curation and management of the located in and interact with. It is essential that art institution. institutions both promote and advocate for a high degree of institutional reflexivity through Neighbourhood change does not have an ongoing consultation and engagement with inevitable destination. If every arts institution neighbourhood groups. These directives may be continued to enable pervasive gentrification, it achieved through the following would then enact such significant neighbourhood recommendations: change that it would lead to the total displacement of native and newly settled lower- 1. In order to ensure that all patrons can engage income residents out of vibrant urban centers with the space to the best of their ability, arts altogether -- consequently homogenizing the city, institutions need to take active steps in while subverting the very diverse and improving physical accessibility in the built heterogeneous essence of urbanity. environment in order to match the standards set out by the Americans with Disabilities Act.81 They also should include a detailed, comprehensive description of any accessibility barriers the institution may have in highly visible physical and digital spaces. 2. It is necessary to enforce affirmative action policies at all levels of creative, administrative and service oriented positions associated with the arts institution. 3. The institution should look for opportunities to collaborate with local groups within the community in order to prevent limiting arts programming from existing solely within the walls of the institution itself. 4. Institutions should create public forum venues where community members feel safe and welcome to voice their concerns -- and community members should thus take a more active role in decisions being made.

81 Department of Proposed Changes in ADA Regulations in Design Standards (2008) U.S. Department of Justice; Civil Rights Division. Retrieved from https://www.ada.gov/newsltr0808.htm Accessed on August 11th 2016

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 14 APPENDIX

FIGURE 1:

1 FIGURE 2:

*Maps provided by the Martin Prosperity Institute

Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 2

WORKS CITED

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